FIRST SHOOTING- Solo scenes of the Artist

Time & Date:    17/10/10  2pm onwards

Scenes:             Solo scenes of artist

Locations:          Barbican Serviced Offices

                          Central Point

                          45 Beech Street

                          London

                          EC2Y 8AD

Equipment:        2 Canon Video Cameras, Still Digital Camera, Reflectors, Gels, Camera Lights, Lighting Kit, Tapes



                      

  

Private apartments
estimated at around £2Million

 

My Partner Mia setting up



We had 3 main sets: The Barbican Terrace Garden, Stdio white background, Tiled Glass Background

   

 I have provided some shot of the terrace garden. Even though it was a very sunny and beautiful day we had to wait for the sun to go behind one of the large private apartment blocks as the sun created a glare in the camera lens. Throughout the shooting we had good lighting in most of the scenes, as these shots were to be used in the singers montage of solo scenes we have decided that we will hand pick the very best shot of our singer to put in the video. This is to be done so our artist not only looks good in the shots but also makes the quality of the video look good and professional which attracts more audiences and appeals to more people rather than an amateur made film.

However we did encounter some other minor problems like some shots contain a lot of shadows on Lizzie's face and you cannot see her face probably we tried to resolve this problem with  lights and reflectors however if was very difficult as the problem was due to the natural lighting.

 

Our second set was the tiled glass background, we are aware it was not in our original plan however we decidede to see what it would look like and experiment a little with different backgrounds to challenge conventions. As with all plans we did face some minor problems again, firstly as you may be able to see from the pictures there was very limited space and these pictures were taken before the lighting and camera and reflector was set up. Seconly the electrical mains with the extension cord did not reach the far end therefore one of our lights and tripod hadd to be moved to the left side however we used the handlight to balance the lighting out a little. Even though the shadow was not taken off it did reduce the shadow. Furthermore the light behind the glass added a glare to the camera so the crew had to stay very still until the sensors went off and the light switched off. However after using the light and standing very still we managed to sort out the problems and shot some very good shots which we decided we are using. The artist is wearing blue to connotate sadness and her dress matches the carpet even though we cannot see the floor in the video.



Our last set was the white background in the studio, it was the least problematic and the one with ethe best outcome. The studio shot follows all major R'n'B conventions, from the plain white background solo scenes too the tight black clothes and heels. Due to the good lighting and contrast between the clothes of the singer the shots came out very good. I was most pleased with these shots as well, we did use a gel on the camera to flatter the skintone of our singer and make the shot seem more interesting rather than just black and white, I believe this challenges sme conventions which is great as the audience do not want to see the same looking video over and over again.

Look Document

Look Document for Solo scenes of artist

Costume	1-     Pink dress, brown trench coat, black heels. 2-     Pink dress black heels, black cardigan 3-     Blue dress 4-     Black vest top, leggings, black heels Costumes are all figure enhancing or contrasting with the background to draw more attention to the singer.
Set	1-     Terrace, posh towers in background 2-     Terrace, posh towers in background 3-     Tiled glass background 4-     White studio background Varied the background to challenge conventions and keep the audience entertained as the same scenes in the montage will look boring. The view of London in the Background reinforces the "Britishness" of the artist which is something we wanted to get across.
Props	1-     Railings 2-     Stone Table 3-     No props 4-     No Props Props kept to a minimum as main focus is on the singer, props only used to enhance the singers sexuality like the table.
Lighting	1-     Natural Lighting 2-     Natural Lighting 3-     Backlight, two key lights 4-     Key lights, Top lighting, Spotlights Lighting and Gels used to make the singer seem glamorous and flawless. Naturally the attention will be drawn to were there is more light.
Colour Scheme	1-     Pink& Black& Grey 2-     Black & Pink 3-     Different Shades of blue 4-     Black & White Black used to show the end of the relationship in the narrative, mourning period. Pink used for feminine reinforcements. Blue for sadness and serenity also the reinforcements of the term “I’m feeling blue”.
Camera Style	Mixture of Low angles High angles close ups and Long shots. Make the audience see the singer from different viewpoints.
Editing Style	Create a montage, add a bit of glow to some scenes to make the video look more professional and the singer look better and more celebrity like.
Special FX	None.
Performance	The dancer will be moving in a seemingly unchoreographed manner.
Kinetics	Dancer will move around a lot during the performance purely for visual pleasure so audience doesn’t get bored  watching the video.

Media Risk Assessment Record

RISK ASSESSMENT CARRIED OUT BY: Amanda Ganjeh

DIRECTOR: Mia Shah                                PRODUCTION MANAGER: Amanda Ganjeh



ACTIVITY OR PROCESS:   BOOKING OUT KIT AND

 FILMING IN THE BARBINCAN BALCONY AND CENTRE

SHOOT DATE: Sunday 17th October 2010 

DATE OF ASSESSMENT: Saturday 16th October 2010        

LOCATION: Barbican Serviced Offices

Central Point

45 Beech Street

London

EC2Y 8AD

                        0800 073 0490

 http://www.beoffices.com/our-locations/london-city/barbican

A:  HAZARDS		B:  DEGREE OF RISK (Refer to Risk Matrix)			C:  PREVENTIVE MEASURES	D:  IF ACCIDENT OCCURS?
Nature of hazard	Person(s) at risk (See below)	Severity	Likelihood	Risk Rating	Measures in place aimed at reducing risk to minimum level?	Further necessary measures, involving whom and by when?
Raining on Equipment Fire, Electrical Fire of the lights No tripping and falling	CAS/CRE/ PUB CAS/CRE/ PUB. CAS/CRE/ PUB	MAJOR FATAL MINOR/MAJOR	Possible Unlikely     Probable	C E+ B/C	Checked the weather forecast beforehand. Umbrellas taken. Made sure lights were switched off immediately after use. Let the lights cool down not near any flammable objects. Cables placed out of fire exits and main pathway maybe stuck against the bottom of wall.	Equipment would be taken inside ASAP. Dried with paper towels and checked. Blanket used to put out fire Ambulance and Firemen called ASAP First Aid applied by first aider (Amanda). Thorough checks made if a serious injury ambulance must be called.

Persons at risk include:  Cas –    Cast                            Cre -        Crew                                     Fam -    Family                          Pub-     Public                          

Stu -     Students                       Tut –        Tutor(s)                     Vis -     Visitors

The “Risk Matrix” or Table of Overall Risk

The Risk Matrix is a useful tool in the assessment of the severity of overall risk. It is intended to allow the relationship between the likelihood of incident/injury occurring and the possible severity of outcome. By comparing these two factors against each other, a Risk Rating can be arrived at, employing a scale between ‘A’ (highest risk) and ‘E’ (lowest risk).

Risk Likely Rating, on a scale of ‘A’ to ‘E’ (‘A’ being the highest)

Likely severity of outcome	Risk Rating, on a scale of ‘A’ to ‘E’ (‘A’ being the highest)
	Frequent	Probable	Possible	Remote	Unlikely
Fatal	A	B+	C+	D+	E+
Major	B+	B	C	D	E
Minor	C+	C	D	D	E
Non- Reportable	D+	D	D	E	E

Explanation of severity of outcome (For definitions and full list of inclusions, refer to the Reporting of Injuries, Diseases and Dangerous Occurrence Regulations (RIDDOR) 1995):

Fatal - any fatal injuries to employees, or any other person, sustained in an accident connected with your business

Major - any injury that includes:

·  Fracture of the skull, spine, pelvis, any bone in the arms or legs (but not in the hand or foot).

·  Amputations of the hand or foot, or of a finger, thumb or toe where the bone or joint is severed.

·  Loss of sight in an eye, or a penetrating injury, chemical / hot burn to the eye.

·  Electric shock resulting in loss of consciousness and / or medical treatment.

·  Acute illness or loss of consciousness resulting from absorption, inhalation or ingestion of a substance.

·  Any other injury requiring hospitalisation for more than 24 hours.

Minor - any other injury to an individual that results in absence from work, or an inability to carry out their normal work, for more than 3 days.

Non-Reportable - any injury or discomfort that does not cause more than 3 days’ disablement, or permanent damage.

Note: “Ill Health”, i.e. loss of hearing, respiratory illness, dermatitis etc. should be rated on their likely severity.

For each section of the Risk Assessment Record form above,

it is recommended that the assessor(s) refer to the notes below for an outline of the main requirements of the questions:

·  Activity or Process - Basically you are required to state the physical nature of the activity.

This can either be a generic activity such as “booking out kit”, or a more specific activity such as

“filming in a moving car” or other more specialised activities; so if necessary try to describe it as best as possible.

For example: “erection and use of lights in living room for fight scene”.

·  Nature of Hazard? - Concentrate upon things that could cause harm, not trivial things like flaky paintwork!

Consult the people who use the area as they may have a different perspective to you.

Do not rely solely upon others however, as they have become “blinkered” to certain hazards through daily exposure to them.

·  Who may be at risk? - Identify types / groups and numbers of people, and perhaps individuals.

It could be “crew” in general, or more specific groups such as cast or guest interviewees who are not familiar with the location.

·  Degree of risk - Compare the likely outcome (worst case scenario if you like) against

the likelihood of it occurring (unlikely through to frequent). Award a rating from A (high) down to E (very low).

Refer to the Risk Matrix above for risk rating.

·  Preventive (Existing Control Measures) - Identify the measures already in place and ask yourself

if they are sufficient to eliminate or reduce the risk to the lowest possible degree?

It is not always possible to entirely eliminate a hazard, as they are often intrinsic to a piece of equipment (such as a tungsten light)

or an activity (such as driving).

·  Preventive (Further Measures Required) - Is there a possibility of circumstances arising that could lead to additional unforeseen risk?

If so, how could these be pre-empted and addressed before they cause harm? If change is planned, what associated hazards

could arise? Could adverse weather conditions or a sudden influx of people result in additional hazards?

·  If Accident Occurs – it is essential that plans are in place if any accident occurs, whether it be fatal, major, minor, or even some non-reportable outcomes.

This would normally take the form of having a record of emergency numbers of cast and crew, contacting the college and the media department,

and calling the emergency services as required.